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Mani Kaul — Prophet of Pure Cinema

December 25, 2020December 27, 2020By Gautam Kaul 0 Comments

In the long history of Indian cinema there have been very few film directors who could be called as being possessed of genius minds. Dada Sahib Phalke was in that realm. He founded the film industry in India, stamping his image in all departments of film making. Satyajit Ray was another person. SS Vasan, in […]

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Sharmila Tagore — A Journey Trapped between Promises and Possibilities

December 8, 2020December 27, 2020By Darshana Goswami 0 Comments

Sharmila Tagore ‘From the east to western Ind, No jewel is like Rosalind. Her worth, being mounted on the wind, Through all the world bears Rosalind. All the pictures fairest lined Are but black to Rosalind, Let no face be kept in mind But the fair Rosalind’ –Shakespeare, As You Like It (Act III, scene […]

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Corona chokes Kannada Cinema’s cheerful climb

November 30, 2020December 10, 2020By S Viswanath 0 Comments

It is nine months now since the curtains were called on a thriving Sandalwood industry that had to shut shop when Corona came calling. The pandemic has had the entire world under its virulent tentacles, spreading dread and death, virtually putting an end to public entertainment in its conventional and traditional sense; theatres and multiplexes […]

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SPB — Tenor Nonpareil

October 26, 2020December 10, 2020By S Viswanath 0 Comments

Here once was a colossus cultural phenomenon nonpareil — SPB — a peerless performer par excellence whose magical, mellow voice saw legions of listeners drawn like bees to a honeycomb, as if a Pied Piper has cast a spell upon them to transport them to an Elysian world. Like many of his ilk in his time, […]

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Aparna Sen — A River Plunging into its Own Depths

October 25, 2020October 25, 2020By Darshana Goswami Shakespeare 1 Comments

Aparna Sen Where the bee sucks, There suck I; In a cowslip’s bell I lie; There I couch when owls do cry; On the Bat’s back I do fly After summer merrily. Merrily , merrily shall I live now, Under the blossom That hangs on the bough. -The Tempest, Act V, Scene I   With […]

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Muzaffar Ali — Opulent Decadence

October 21, 2020November 11, 2020By Amborish Roychoudhury 1 Comments

When renowned poet Faiz Ahmed Faiz watched Gaman (1978), he was overcome by so many emotions that it was nearly impossible not to say anything about it. He wrote a letter to Muzaffar Ali, the 34 year-old adman who had directed the film. Faiz wrote, “Gaman is a poem in visuals. Its tragic lyricism and […]

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Dev Anand — Yesterday was Another Day

September 26, 2020September 27, 2020By Amit Khanna 0 Comments

Dev Anand was Dorian Gray, Peter Pan and matinee idol all rolled into one. There may only be a handful of actors or filmmakers anywhere in the world whose career spanned 7 decades. Dev Saab, as he is still remembered, was one of the most pos­itive persons I have ever met. His effervescent charm, his […]

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Mysskin — Missing the forest for the trees

September 20, 2020October 27, 2020By S Viswanath 0 Comments

A perspective peek at the nonet of films that have pitchforked Mysskin into the exalted realm of Kollywood’s cinematic sense   Straddling the Kollywood movie marquee in the last dozen plus years like a lodestar among his peers, Tamil film director Mysskin, nee Shanmugha Raja, since his trailblazing debut in 2006 with Chithiram Pesuthadi, has […]

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Pandemic pummels cinema into existential vortex

August 15, 2020February 3, 2022By S Viswanath 1 Comments

Pandemic pummels cinema into existential vortex Don’t open the pod bay doors, Hal. We need social distancing. 2001: A Space Odyssey (1968)     Nothing can be alarmingly apocryphal than the above lines from the nearly four decade old film. ‘Social Distancing’ has become the new lingua franca of human transaction in this pandemic times […]

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Tape 39: Memory as Document, Memory as Map Maker

August 10, 2020August 10, 2020By Devdutt Trivedi 0 Comments

Film: Tape 39 | presently streaming on Mubi Director: Amit Dutta   The cinematograph can be defined as a writing with movements and sound. The essential problematic of the cinematograph lies precisely within this question—how can the cinematograph move beyond the manifest reality? This manifest reality is the apparent space and time represented before the […]

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Publisher

Film Critics Circle of India

Memorandum of Association signed on December 25, 2012.

Registered on February 07, 2013, under the Travancore-Cochin Literary, Scientific and Charitable Societies Registration Act, 1955.

Reg: EKM/TC/106/2013

1/1439, Next to Karthik Temple, Cochin – 682 001

Editorial Board

Amit Khanna
amit@amitkhanna.in


Rashmi Doraiswamy
rdoraiswamy@jmi.ac.in


Saibal Chatterjee
saibal@filmcriticscircle.com


Rafique Baghdadi
rafique@filmcriticscircle.com


Ashameera Aiyappan
asha@ashameeraaiyappan.com

Authors

  1. Aditya Modak
  2. Amartya Acharya
  3. Amborish
  4. Amitava Nag
  5. Amit Khanna
  6. Ananya Nandan
  7. Anirban Lahiri
  8. Aparajita Sinha
  9. Arnab K Middya
  10. Babu Subramanian
  11. Daniela Rogobete
  12. Darshana Goswami
  13. Dnyanesh Moghe
  14. Divya Mehta
  15. Devdutt Trivedi
  16. Dipsikha Bhagawati
  17. Gautam Kaul
  18. Joy Bimal Roy
  19. Kanika K. Arya
  20. Manoj Barpujari
  21. MK Raghavendra
  22. Monita Borgohain
  23. Mukhta Chand
  24. Oorvazi Irani
  25. Parthajit Baruah
  26. Premchand
  27. Priyanka Purthy
  28. Ratnottama Sengupta
  29. RK Bidur Singh
  30. Sathya Saran
  31. Saurabh Turakhia
  32. Sayantan Dutta
  33. S Viswanath
  34. Utpal Datta
  35. Vanessa Lien Bianci

Book Chapters

Preface — Words. Sounds. Images: A History of Media and Entertainment in India by Amit Khanna


Understanding a twin subgenre: new- and mixed-gen cinema of Malayalam by Christopher Dalton

Editor

Christopher Dalton
dalton@filmcriticscircle.com
+91-807 577 6287

Comments

  • Babu Subramanian on Whitewashing a leopard: Don Palathara’s Family (2023)
  • Jayasurya Somanchi (S.J.Surya) on Whitewashing a leopard: Don Palathara’s Family (2023)
  • Gopinathan Padmanabhan on Polyphony in Time: Narrational Strategy in Adoor Gopalakrishnan’s ‘Anantaram’ (1987) and the Film’s Multiple Interpretations

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